The quilt top is comprised of twenty-five 13-inch printed cotton squares that are samples from the textile firm, James, Kent, Santee & Co., of Philadelphia, Pennsylvania. All of the squares are plain-woven, roller-printed cotton. Thirteen squares are different red on pink or pink on red floral designs; twelve are brilliant polychrome prints, mainly paisleys. The squares are hand sewn, but the border is stitched on by machine.
James, Kent, Santee & Co., was a successful textile firm established by William C. Kent and two friends in 1840. A New York Times notice (February 22, 1860) listed the firm among other Philadelphia merchants, as “enemies to the institutions of the South.” They were listed under “THE BLACK LIST, OR ABOLITION HOUSES, OF PHILADELPHIA.” Despite this and a disastrous Philadelphia fire in February 1866 that destroyed their buildings, the firm prospered until it was reorganized under another name in 1882.
The donor’s father, Henry D. Welsh, joined the firm in 1852, became a partner in 1856 and continued in the firm until 1881. William C. Kent and Henry D. Welsh and others, in addition to the textile business, successfully invested their time and energies in the development of railroads. Among many other civic activities, Henry D. Welsh was one of the incorporators of the Centennial Exposition in 1876. Both men, self-made, died successful businessmen. The quilt top represents the product of the textile firm that was instrumental in their careers.
About 1855 in Northfield, Mass., Charles Torrence Ripley was preparing to move his family and daguerreotyping business to Fond du Lac, Wis. This “Friendship” quilt was made by friends and family for his wife, Lucy Arabella (Holton) Ripley.
Friendship quilts are composed of signed blocks of the same pattern often accompanied by an inscription. These quilts were popular in the mid-19th century when many families were relocating further west and a tangible reminder of those they left behind was in order. It is through the many signatures on this quilt that some of its history can be traced.
Blue and white printed cottons are pieced in the “Friendship Chain” (“Album” or Chimney Sweep”) pattern, and the blocks are set diagonally with a 3 ½ -inch blue-and-white polka-dot sashing. The blocks are partly outline-quilted and many have four “Xs” quilted in the white center area.
The majority of the ink-inscribed blocks (28) are from Massachusetts (mainly Northfield) and New Hampshire. Three name towns in Wisconsin, one dated 1854, and the other two, 1920s. Five other blocks are dated 1901 and 1926 and are inscribed in indelible pencil. It would appear that these were written long after the quilt was made and may indicate a significant date or person to be remembered.
In addition to names, places, and dates, many of the blocks contain verses pertinent to friendship. Adaline Swan from Northfield, Mass., penned this on her block in 1851:
“The storm-cloud comes o’er the autumn sky
And the flow’rets in their beauty die,
But friendship true, is an ever green.
That decayeth not ‘neath a sky serene”
(”True Friendship” by James Aylward 1813-1872)
The verses were taken from many sources and may have appeared in magazines or newspapers of the period.
The name of the Museum's donor, “Ione Ripley, Aug 18, 1926, Kenosha, Wisconsin” is written on one of the blocks in purple indelible pencil. The quilt had been kept in the family of her father, Floyd Stratton Ripley, until Ione donated it in 1956. Floyd Stratton Ripley was the son of Charles Stratton Ripley (1851-1914), who immigrated with his parents (Charles Torrance Ripley and Lucy Arabella Ripley) in 1855 to Fond du Lac, Wis., from Northfield, Mass. The initial recipient of this quilt, Lucy Arabella Holton, was born in 1821 in Northfield, Mass. She married Charles Torrance Ripley (b.1815) in 1847, and moved with her 3-year-old son to Fond du Lac in 1855 and had two more children. Her husband established a studio in Fond du Lac, but died in 1861. Lucy died in 1887. Her daughter-in-law, Florence Fellows Ripley (1863-1926), owned the quilt before Ione. Her name, also in indelible pencil, is noted on a block with the date 1901 and Kenosha, Wisconsin. Most likely the donor, Ione, received this quilt after her great-aunt’s death in July 1926.
The quilt was kept in the family for more than 100 years, and now serves as an example of one way a community created a memento for those who left to settle in the West.
Five 24-inch pieced 8-Pointed Star blocks and four Railroad Crossing blocks were constructed using 27 different printed cottons. This quilt top was made about 1879 by Betty West, who was employed by Leonides C. Campbell and his wife, Mary, as a nurse for their children.
One of the children, Mary C. Watkins, wrote in 1939: “Betty West, our Negro nurse, made this quilt for my brother Kennedy and me. The many stitches made by stiff old fingers showes the real love she had for the two white children entrusted to her care. I treasured the quilt & have kept it all these years in loving memory of her.”
Emily Cole's daughter used a section of pieced patchwork made by Emily Cole as a child to cover this cushion. Patchwork consists of 3" squaresof roller-printed cottons, crudely stitched, and pieced in a "Dutch Tile" or "Diamond in the Square" pattern. It is filled with cotton wadding, fabric remnants, and nylon stockings. The original rectangle of patchwork was folded in half to cover the stuffing, and stitched on three sides with pink silk.
This white-work child's quilt belonged to Ann Bender Snyder in the 1840s, whether it was intended for her own child is not known. Forty years later Ann Bender Snyder gave the quilt to her god daughter, Nina Knode, as a baptismal gift when she was six months old. Nina Knode Heft always felt that it was a "museum piece" and that "after she was gone nobody would be interested in taking care of [it] in the same manner as she had." William Heft, Nina Knode's husband, followed his wife's wishes and donated it in her name to the Museum in 1940.
The all white cotton quilt has a center medallion consisting of a basket of fruit above the quilted initials "A B S" enclosed in a feathered vine. This in turn is surrounded by an undulating vine bearing grapes, flowers, and pineapples. Stems and straight lines are stuffed with cotton roving. The border has a zigzag row of pointed oval leaves. Three sides of the quilt are edged with a 3-inch netted fringe.
Ann Bender was born in about 1830, and married Oliver H. Snyder on 15 September 1847. In 1848 they had a daughter, Alice, who died at age five in 1853. Both Ann and Oliver Snyder lived in Funkstown, Maryland. Both died in 1887 and are buried in the Funkstown Public Cemetery.
“1876 Emma St. Clair Whitney Centennial” is printed on the center rosette of this silk quilt. Two-inch plain colored silk hexagons are pieced into rosettes, each separated by black hexagons. An 8-inch silk border is quilted, 8 stitches per inch, with a 5-banded cable pattern. The silk lining is hand-quilted in a shell pattern in the center with a 4-banded cable pattern on the border.
Emma St. Clair Nichols was born on September 26, 1840 in Pottsville, Pennsylvania. She married William Whitney (1823-1899) on October 2, 1862. He was a lawyer and Civil War veteran. They raised four children. In 1891 Emma published a book, Michael Hillegas and his Descendants, a memoir of her great grandfather. Michael Hillegas (1729-1804) was the First Treasurer of the United States. In the forward she mentioned that, “. . . [it] is hoped that the facts and materials here collected and classified, will be found serviceable to some later writer. . .” Emma died April 4, 1895. Her 1876 Centennial silk quilt is her legacy.
Sarah Elizabeth Smedley Henderson carefully crafted this silk parlor throw with a date of 1883. It was donated to the Collection in 1939 by her sister, Blanche Smedley-von Daur. Along with a third sister, Matilda Smedley, Sarah and Blanche were active in establishing the American National Institute in Paris.
While living in Paris in the early 1890s, Matilda organized a successful program to assist young American women who were studying in France. She returned from France in the mid-1890s to expand this work. From modest beginnings, an Institute was established to aid struggling American art students in Paris. It was estimated in 1895 that over 3000 young women were studying in Paris. Matilda was the resident director of the Institute, which helped with living accomodations and provided a meeting place for the students. In 1908 bill was introduced in Congress to convert the New York-incorporated American National Institute to a Federal corporation, although the bill never became law.
Plain-, pattern-woven, ribbed, watered and printed silks as well as velvet and plush fabrics, are found on this parlor throw. The crazy-patchwork frames a center square of pansies printed on velvet. Typical embroidered motifs, mainly floral, some painted motifs, and a Kate Greenaway printed vignette decorate the patches. The date, 1883, and a few initials are embroidered on the throw. Feather, straight, buttonhole, French knot, satin, stem, detached chain, chain, and herringbone stitches embellish the crazy-patchwork. It is lined with a printed wool fabric of plumed leaves and flowers in an imitation of a warp-print fabric. A dark red velvet 4-inch border completes the throw.
Sarah born about 1866, and her sisters Blanche and Matilda were from Ireland. Sarah, according to the 1920 census, immigrated to the United States in 1886. Blanche and Matilda are shown on the passenger list of the ship Etruria that arrived in New York from England and Ireland in October 1886. Sarah married William Henderson about 1890. The couple had three children, William, James and Sarah Evelyn. It is not clear whether the date, 1883, that is found on the parlor throw is necessarily the date it was made, or a date significant for some other reason, as is sometimes the case.
The quilt consists of fIfty-six blocks ranging in size from 6"x 6" to 6 1/4" x 6 1/4". Each of the blocks are composed of five blocks, four 3"x3" blocks with a fith 2 1/8" x 2 1/8" center block turned on point and placed in the center; seven of the small center blocks turned on point are a red and white stripe fabric, the rest are pink, light blue, and white. There are 224 3"x3" blocks and 56 of the 2 1/8"x2 1/8" blocks. Quilted in the herringbone or chevron pattern. Made in Georgia.
This quilt block has white cloth appliqued to it in the shape of a cross. This white fabric bears the signature of Grace Coolidge, wife of President Coolidge.
The quilt is hand made in a bar pattern. It is also hand quilted. The front of the quilt consists of a small print green fabric and a small print pink fabric in an alternating bar pattern. The binding is a second pink print. The backing of the quilt is brown cotton fabric.
